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KRS-One - “Ah Yeah!” Critical Analysis by Hakeem Ture

“If hip hop has the power to corrupt young minds, it also has the ability to uplift them.” - KRS-One

The musician is a natural master of vibration and emotion. Many musicians have been able to make us dance. Many have been able to draw on relatability because nobody is the only person like them in the world. Perhaps some have even made us cry or provided soundtracks for intimate moments. Only few musicians have taken on the task of socially and historically educating their listeners through their music.

Even fewer have been able to combine the mastery of teaching with mastery of rhythm. Those who do this become legends like; Nate King Cole, B.B. King, Nina Simone, Bob Marley, Chaka Khan and Fela Kuti�� and their influence lives throughout generations. In 1995 Krs-One released a self-titled album that came in the sunset of his reign. His career would mirror the sepia filter of the album cover.

This album had dominant auras of militancy and rebellion that Krs-One fans had not heard since Boogie Down Productions - Criminal Minded. Krs-One was able to both appease his day one fans and gain the younger generation of Hip Hoppers who were listening to artists such as: Nas, Redman,Das Efx, Tupac, and A Tribe Called Quest. The message and timing of this album may have been divine. Let us look at the historical events of the year(s) Krs-One was creating this album in. In 1994, the United States congress had successfully completed the first step of becoming fascist by Voting to Censure Dr. Khalid Muhammad, National Advisor of the Nation of Islam. Bill Clinton and Joe Biden led Democrats to pass the The Violent Crime Control and Law Enforcement Act and effectively fueled the prison industrial complex. South Africa held it first election since intergrating with the apartheid government and Invisble Man author Ralph Ellison had passed. Hip Hop was the soul vehicle of expression to protest the genocide that had been going on and KRS One was one of its leaders. The youth looked toward this leader to deliver an album reflective of their mindstate and he delivered.

Imperative of a classic work of musical art, this album is composed of multiple great songs, but in my opinion the cornerstone song of the album is undeniably “Ah Yeah”. In this song he masterfully uses three 16 bar verses to empower and mobilize his listener much in the same way Dr. Khalid Muhammad did. This track starts with the establishment of an a capella warcry. He writes in response to western power’s having done such an incredible job destroying the rebel instinct that Afrikan people possess by publicly shaming our leaders and traditions. These lyrics are him trying to raise the psyche of a fallen warrior class and put revolt back in its holy place as opposed to the negative connotation that has been applied by the white power structure. He essentially made a chant-like hook with an underlying message of “This is your enemy, This is how to handle him, and THIS is okay”. The aim focuses on redirecting the accumulated anger of a traduced peoples that is often mistargeted toward self so that we may be collectively progresssive.

He bellows:

“Ah yeah, that's whatcha say when you see a devil down

Ah yeah, that's whatcha say when you take the devil's crown

Ah yeah, stay alive all things will change around

Ah yeah, what? Ah yeah!”

Then comes the establishment of an eerie bass line. This song structure is familiar to fans of his earlier work. It was what they were longing for. For a few albums he took the perspective of being in the classroom or office as opposed to in the battlefield with his men. He had returned to fight with us like Haile Selassie. Immediately he establishes a dual level of respect. One with his men and one with his deterrent.

“So here I go kickin' science in ninety-five

I be illin', parental discretion is advised still

Don't call me nigga, this MC goes for his

Call me God, cause that's what the black man is

Roamin' through the forest as the hardest lyrical artist

Black women you are not a bitch you're a Goddess

Let it be known, you can lean on KRS-One

Like a wall cause I'm hard, I represent God”

In the first 2 bars of the preceding excerption he lets us know he intends to drop some knowledge, but it will not be filtered for political correctness or comfortability. The following 2 bars he establishes both a tone of encounterment and identity. Then he goes on to explain from which direction he came much like Saint Maurice's appearance upon the plagued people of Europe to let them know he has navigated and he is no spook. He goes on to talk to his listener and the most important of them, the women.

In 1994, fresh off a press tour on which she gained popularity from criticizing Bill Clinton, Sister Souljah published her first book that was heralded by black scholars and youth alike entitled No Disrespect. Her Influence was cemented in the minds of black youth and played a huge role in raising generational consciousness by dealing with topics like “how the black woman is viewed by black men” and “the black woman’s role in repairing the black family structure”. She had solely been awarded leadership duties by a disregarded demographic in a scapegoated culture and was handling it with the grace of Misty Copeland. Her and the women she raised to consciousness needed the camaraderie of Krs One. He goes on to sell to himself:

“Wack MC's have one style: gun buck

But when you say, "Let's buck for revolution"

They shut the fuck up, can't get with it

Down to start a riot in a minute

You'll hear so many Bowe-Bowe-Bowe, you think I'm Riddick

While other MC's are talkin' bout up with hope down with dope

I'll have a devil in my infrared scope,”

In the first five bars he addresses the enemies of the oppressed people within the oppressed people. These “Wack MC’s” are the Uncle Toms’ and Judas of the rebellious, afro-centric movement that is Hip-Hop. He says they lack discipline and do not have the self awareness to rescue themselves. In comparison with himself who uses that energy toward an ultimate goal, Independence through revolution. In the succeeding excerption KRS briefly displays the cognitive processing and coping mechanism of a warrior:

“WOY

That's for calling my father a boy and, klak, klak, klak

That's for putting scars on my mother's back, BO

That's for calling my sister a ho, and for you

Buck, buck, buck cause I don't give a motherfuck

Remember the whip, remember the chant

Remember the rope and

You black people still thinkin' about voting?

Every President we ever had lied!

You know, I'm kinda glad Nixon died.”

Throughout the preceding excerption KRS skillfully uses onomatopoeias to create a setting for his listener. There is a battle going on. Shells casings are falling to the ground and bullets are flying from high caliber weapons. He is in the thick of it and then an enemy approaches him. He musters the courage to engage with his assailant by remembering the suffrage the morals of his enemies’ elected nation-state has caused his ancestors. Then he rejoices in the death of one of their leaders, Richard Nixon.

In the second verse Krs-One addresses an age-old topic of discussion for spiritual people that was brought forth to the Afrikans of today by Noble Drew Ali, “The Prophetic Soul”. This belief dates back to ancient Buddhism in the caves of Asia taught to us by Dr. Ivan Van Sertima in his book “African Presence in Early Asia”. This belief entails that all the prophets of the world including but not limted to; Adam, Jesus, Buddha, Muhammad, and himself were the same soul being reborn until its mission is completed.” Krs-One puts himself and a couple others in this divine line of being.

“This is not the first time I came to the planet

concern every time I come, only a few could understand it

I came as Isis, my words they tried to ban it

I came as Moses, they couldn't follow my Commandments

I came as Solomon, to a people that was lost

I came as Jesus, but they nailed me to a cross

I came as Harriet Tubman, I put the truth to Sojourner

Other times, I had to come as Nat Turner

They tried to burn me, lynch me and starve me

So I had to come back as Marcus Garvey, Bob Marley

They tried to harm me, I used to be Malcolm X

Now I'm on the planet as the one called KRS

Kickin' the metaphysical, spiritual, tryin' to like

Get with you, showin' you, you are invincible

The Black Panther is the black answer for real

In my spiritual form, I turn into Bobby Seale

On the wheels of steel, my spirit flies away

And enters into Kwame Ture”

In the beginning of the third verse he briefly continues the theme of possessing The Prophetic Soul but now, he does not speak from a perspective of being the people who had the soul. He speaks from the perspective of the soul. This soul is traveling and looking for a host. In the first two bars he speaks of how he was able to travel without detection from the government’s surveillance. Then, he goes on to finally choose a host that is relevant to the demographic of people it intends to reach. This host is stylish and his image is relatable, so the people will be receptive of his message through familiarity.

“In the streets there is no EQ, no di-do-di-do-di-do

So I grab the air and speak through the code

The devil cannot see through as I unload

Into another cerebellum

Then I can tell em, because my vibes go through denim

And leather whatever, however, I'm still rockin”

After the prophetic soul latches on to the host, KRS-One, it manifests purpose with grassroot organization and motivational speaking. Being KRS-One founded the Stop the Violence Movement in 1988 and was solely responsible for mobilizing many of the most influential Hip Hoppers against Gang Violence and Culture he had plenty of knowledge to give on the topic.

“We used to pick cotton, now we pick up cotton when we shoppin'

Have you forgotten why we buildin' in a cypher

Yo hear me kid, government is building in a pyramid

The son of God is brighter than the son of man

The spirit is, check your dollar bill G, here it is

We got no time for fancy mathematics

Your mental frequency frequently pickin' up static

Makin' you a naked body, addict and it's democratic

They press auto, and you kill it with an automatic”

Too often credit for the creation and establishment of a culture or society is given to one person as opposed to being evenly distributed amongst the support structure. How many times have you been taught the legacy of all the men that signed the declaration of independence? It is likely that you’ve only been taught about Thomos Jefferson. Just like there would be no Fidel Castro without the parallel influences of Che Guevara and Camilo Ceinfuegos there would be no Hip-Hop without KRS ONE. Perhaps without his tenacity, passion, and will it would have been infiltrated and exploited before it reached its full maturity. If that would have happened America would not have its current number one export. In his prime most consumers who listened to his message and gazed upon his image said “OH NO!” from fear of what they could not understand. Today, we look at his legacy of art and effort and cant help ,but smile and yell “AH YEAH!”.

“If hip hop has the power to corrupt young minds, it also has the ability to uplift them.” - KRS-One

The musician is a natural master of vibration and emotion. Many musicians have been able to make us dance. Many have been able to draw on relatability because nobody is the only person like them in the world. Perhaps some have even made us cry or provided soundtracks for intimate moments. Only few musicians have taken on the task of socially and historically educating their listeners through their music.

Even fewer have been able to combine the mastery of teaching with mastery of rhythm. Those who do this become legends like; Nate King Cole, B.B. King, Nina Simone, Bob Marley, Chaka Khan and Fela Kuti’ and their influence lives throughout generations. In 1995 Krs-One released a self-titled album that came in the sunset of his reign. His career would mirror the sepia filter of the album cover.

This album had dominant auras of militancy and rebellion that Krs-One fans had not heard since Boogie Down Productions - Criminal Minded. Krs-One was able to both appease his day one fans and gain the younger generation of Hip Hoppers who were listening to artists such as: Nas, Redman,Das Efx, Tupac, and A Tribe Called Quest. The message and timing of this album may have been divine. Let us look at the historical events of the year(s) Krs-One was creating this album in. In 1994, the United States congress had successfully completed the first step of becoming fascist by Voting to Censure Dr. Khalid Muhammad, National Advisor of the Nation of Islam. Bill Clinton and Joe Biden led Democrats to pass the The Violent Crime Control and Law Enforcement Act and effectively fueled the prison industrial complex. South Africa held it first election since intergrating with the apartheid government and Invisble Man author Ralph Ellison had passed. Hip Hop was the soul vehicle of expression to protest the genocide that had been going on and KRS One was one of its leaders. The youth looked toward this leader to deliver an album reflective of their mindstate and he delivered.

Imperative of a classic work of musical art, this album is composed of multiple great songs, but in my opinion the cornerstone song of the album is undeniably “Ah Yeah”. In this song he masterfully uses three 16 bar verses to empower and mobilize his listener much in the same way Dr. Khalid Muhammad did. This track starts with the establishment of an a capella warcry. He writes in response to western power’s having done such an incredible job destroying the rebel instinct that Afrikan people possess by publicly shaming our leaders and traditions. These lyrics are him trying to raise the psyche of a fallen warrior class and put revolt back in its holy place as opposed to the negative connotation that has been applied by the white power structure. He essentially made a chant-like hook with an underlying message of “This is your enemy, This is how to handle him, and THIS is okay”. The aim focuses on redirecting the accumulated anger of a traduced peoples that is often mistargeted toward self so that we may be collectively progresssive.

He bellows:

“Ah yeah, that's whatcha say when you see a devil down

Ah yeah, that's whatcha say when you take the devil's crown

Ah yeah, stay alive all things will change around

Ah yeah, what? Ah yeah!”

Then comes the establishment of an eerie bass line. This song structure is familiar to fans of his earlier work. It was what they were longing for. For a few albums he took the perspective of being in the classroom or office as opposed to in the battlefield with his men. He had returned to fight with us like Haile Selassie. Immediately he establishes a dual level of respect. One with his men and one with his deterrent.

“So here I go kickin' science in ninety-five

I be illin', parental discretion is advised still

Don't call me nigga, this MC goes for his

Call me God, cause that's what the black man is

Roamin' through the forest as the hardest lyrical artist

Black women you are not a bitch you're a Goddess

Let it be known, you can lean on KRS-One

Like a wall cause I'm hard, I represent God”

In the first 2 bars of the preceding excerption he lets us know he intends to drop some knowledge, but it will not be filtered for political correctness or comfortability. The following 2 bars he establishes both a tone of encounterment and identity. Then he goes on to explain from which direction he came much like Saint Maurice's appearance upon the plagued people of Europe to let them know he has navigated and he is no spook. He goes on to talk to his listener and the most important of them, the women.

In 1994, fresh off a press tour on which she gained popularity from criticizing Bill Clinton, Sister Souljah published her first book that was heralded by black scholars and youth alike entitled No Disrespect. Her Influence was cemented in the minds of black youth and played a huge role in raising generational consciousness by dealing with topics like “how the black woman is viewed by black men” and “the black woman’s role in repairing the black family structure”. She had solely been awarded leadership duties by a disregarded demographic in a scapegoated culture and was handling it with the grace of Misty Copeland. Her and the women she raised to consciousness needed the camaraderie of Krs One. He goes on to sell to himself:

“Wack MC's have one style: gun buck

But when you say, "Let's buck for revolution"

They shut the fuck up, can't get with it

Down to start a riot in a minute

You'll hear so many Bowe-Bowe-Bowe, you think I'm Riddick

While other MC's are talkin' bout up with hope down with dope

I'll have a devil in my infrared scope,”

In the first five bars he addresses the enemies of the oppressed people within the oppressed people. These “Wack MC’s” are the Uncle Toms’ and Judas of the rebellious, afro-centric movement that is Hip-Hop. He says they lack discipline and do not have the self awareness to rescue themselves. In comparison with himself who uses that energy toward an ultimate goal, Independence through revolution. In the succeeding excerption KRS briefly displays the cognitive processing and coping mechanism of a warrior:

“WOY

That's for calling my father a boy and, klak, klak, klak

That's for putting scars on my mother's back, BO

That's for calling my sister a ho, and for you

Buck, buck, buck cause I don't give a motherfuck

Remember the whip, remember the chant

Remember the rope and

You black people still thinkin' about voting?

Every President we ever had lied!

You know, I'm kinda glad Nixon died.”

Throughout the preceding excerption KRS skillfully uses onomatopoeias to create a setting for his listener. There is a battle going on. Shells casings are falling to the ground and bullets are flying from high caliber weapons. He is in the thick of it and then an enemy approaches him. He musters the courage to engage with his assailant by remembering the suffrage the morals of his enemies’ elected nation-state has caused his ancestors. Then he rejoices in the death of one of their leaders, Richard Nixon.

In the second verse Krs-One addresses an age-old topic of discussion for spiritual people that was brought forth to the Afrikans of today by Noble Drew Ali, “The Prophetic Soul”. This belief dates back to ancient Buddhism in the caves of Asia taught to us by Dr. Ivan Van Sertima in his book “African Presence in Early Asia”. This belief entails that all the prophets of the world including but not limted to; Adam, Jesus, Buddha, Muhammad, and himself were the same soul being reborn until its mission is completed.” Krs-One puts himself and a couple others in this divine line of being.

“This is not the first time I came to the planet

concern every time I come, only a few could understand it

I came as Isis, my words they tried to ban it

I came as Moses, they couldn't follow my Commandments

I came as Solomon, to a people that was lost

I came as Jesus, but they nailed me to a cross

I came as Harriet Tubman, I put the truth to Sojourner

Other times, I had to come as Nat Turner

They tried to burn me, lynch me and starve me

So I had to come back as Marcus Garvey, Bob Marley

They tried to harm me, I used to be Malcolm X

Now I'm on the planet as the one called KRS

Kickin' the metaphysical, spiritual, tryin' to like

Get with you, showin' you, you are invincible

The Black Panther is the black answer for real

In my spiritual form, I turn into Bobby Seale

On the wheels of steel, my spirit flies away

And enters into Kwame Ture”

In the beginning of the third verse he briefly continues the theme of possessing The Prophetic Soul but now, he does not speak from a perspective of being the people who had the soul. He speaks from the perspective of the soul. This soul is traveling and looking for a host. In the first two bars he speaks of how he was able to travel without detection from the government’s surveillance. Then, he goes on to finally choose a host that is relevant to the demographic of people it intends to reach. This host is stylish and his image is relatable, so the people will be receptive of his message through familiarity.

“In the streets there is no EQ, no di-do-di-do-di-do

So I grab the air and speak through the code

The devil cannot see through as I unload

Into another cerebellum

Then I can tell em, because my vibes go through denim

And leather whatever, however, I'm still rockin”

After the prophetic soul latches on to the host, KRS-One, it manifests purpose with grassroot organization and motivational speaking. Being KRS-One founded the Stop the Violence Movement in 1988 and was solely responsible for mobilizing many of the most influential Hip Hoppers against Gang Violence and Culture he had plenty of knowledge to give on the topic.

“We used to pick cotton, now we pick up cotton when we shoppin'

Have you forgotten why we buildin' in a cypher

Yo hear me kid, government is building in a pyramid

The son of God is brighter than the son of man

The spirit is, check your dollar bill G, here it is

We got no time for fancy mathematics

Your mental frequency frequently pickin' up static

Makin' you a naked body, addict and it's democratic

They press auto, and you kill it with an automatic”

Too often credit for the creation and establishment of a culture or society is given to one person as opposed to being evenly distributed amongst the support structure. How many times have you been taught the legacy of all the men that signed the declaration of independence? It is likely that you’ve only been taught about Thomos Jefferson. Just like there would be no Fidel Castro without the parallel influences of Che Guevara and Camilo Ceinfuegos there would be no Hip-Hop without KRS ONE. Perhaps without his tenacity, passion, and will it would have been infiltrated and exploited before it reached its full maturity. If that would have happened America would not have its current number one export. In his prime most consumers who listened to his message and gazed upon his image said “OH NO!” from fear of what they could not understand. Today, we look at his legacy of art and effort and cant help ,but smile and yell “AH YEAH!”.